In a field crowded with fine, adventurous new rock ’n’ roll bands that made… Read Full Bio ↴In a field crowded with fine, adventurous new rock ’n’ roll bands that made their homes in Los Angeles between ’78–82, Code Blue stood out from the pack. This was a no-nonsense unit, without pomposity or cuteness. They were unique at a time when most bands wore their influences and commercial ambitions on their sleeves. Those who caught the original lineup in small clubs were struck by their power an passionate delivery of great songs. Leader/guitarist Dean Chamberlain had been a founding member of the original Motels with Martha Davis. Moving to L.A. and leaving that band after a few years, he felt he had finally progressed to the point of forming his own personal version of the great, American rock ’n’ roll band. Dean composed a set of representative tunes and went about the task of finding suitable musicians. Within a year, the band—now called Skin, with Randall Marsh on drums and Michael Ostendorf on bass—had built a loyal following and entertained serious offers from the two largest record companies in the world.
THE RIGHT PLACE THE RIGHT TIME
Dean grew up in San Mateo, just south of San Francisco, and started playing electric guitar when he was 14. He began attending Bill Graham-produced concerts and caught a variety of artists, such as Howlin’ Wolf, The Charles Lloyd Quartet, and Big Brother And The Holding Company, appearing on the same bill. Rock, blues, jazz, folk, experimental—the wide range of styles combined on Graham’s stage was extraordinary, all the more so for those kids who saw their scope and appreciation of music permanently broadened.
Dean saw Jimi Hendrix play on several occasions around the Bay Area. Once, he became so caught up in the excitement, he climbed up on the stage, only to be launched back into the crowd by Graham himself. As a teenager, Dean spent a year in Brazil while his dad worked as a doctor for the Peace Corps. He expanded his musical pallet by befriending and playing with future Brazilian guitar hero Robertinho de Recife and the young Arto Lindsay, who would continue his international career with DNA and the Ambitious Lovers, as well as producing Brazilian megastars.
After returning to the States, Dean studied at U.C. Santa Cruz for a couple of years before transferring to Berkeley. It was there that he formed the group that would eventually become The Motels with Martha Davis, Richard d’Andrea on bass, Robert Newman on drums, and high school friend Chuck Wada on guitar and songwriting. This group was a funky reaction to the swell of peace and love that Dean witnessed growing up in the Bay Area. But by the early ’70s, the cosmic spell of brotherhood and goodness had already faded, and the local music scene had grown stale. It was time to move along.
“I CAME DOWN TO L.A. TO SEE IGGY POP AT THE WSHISKY A GO-GO AND STAYED”
In the mid-’70s, Southern California was a rather bleak, barren place for the many musicians flocking there in search of career opportunities. The music industry had become fat and decadent as increasing record sales built corporate giants. The popular L.A. sound of the day was light rock with a country flavor. R&B had somehow turned into disco. Jazz musicians traded their sharkskin suits and Italian shoes for dashiki’s and jazz-rock fusion. Spandex-and-hair-spray bands maintained scattered pockets of support in the Valley and Orange County. But the real problem was that too few venues were available to host original music. What was a thoughtful young man to do with his more subversive tendencies and rock ’n’ roll ambitions?
Evenings spent at The Rainbow Bar & Grill, trolling for free drinks, proved a reasonable strategy for Dean to get his bearings. Soon after arriving in the City of Angels, he secured a job at Paramount Recording Studios on Santa Monica Blvd. This medium-sized facility had been around since the late ’60s and recorded such artists as The Doors and Sly And The Family Stone. When he walked in off of the street and asked for a job, Dean figured he had nothing to lose. To his surprise, he soon found himself employed removing linoleum from the studio-bathroom floor.
WELCOME TO THE RECORD BUSINESS
In addition to honing his carpentry skills, on occasion Dean did assist in the engineering of actual recording sessions, and worked with legendary artists and producers, such as Sly Stone, Bob Crewe, and Bobby Womack. He also recorded his own version of “Harlem Shuffle” during allnight sessions that might have led to his subsequent dismissal.
Dean’s next day-job was at Warner Bros. Records, listening to unsolicited tapes sent to the A&R department. This was a handy gig, as it allowed him to pursue his own musical endeavors while getting paid to listen to those of other musicians. Soon after, Martha Davis and the other Motels relocated to L.A. Their intention? Putting the band back together with Dean, securing a record deal, and hitting the big time. Still, there was a nagging problem: There were few places for a ’70s alternative band to perform. The Motels had to stage and promote their own shows—their first one, at Barney’s Beanery, and then one at Radio Free Hollywood at Troopers Hall, where over 200 people showed up. Demos were recorded for record-company consideration. Punk found its way to Los Angeles in early ’77. This extreme reaction to the status quo was a long-awaited fire hose, washing away the deadwood to make way for new live music. The excitement was palpable on the street. Punk clubs sprang up in Chinese restaurants and Polish meeting halls, and established venues soon took notice. New bands, liberated from the stodgy constraints of musical ability, were being formed daily. Musicians who had been knocking around were inspired by the new punk-rock attitude, though not exactly sure of how to embrace it. Dexterous guitar riffage seemed to be out of fashion, and Dean played “lead guitar.” Things were beginning to move for The Motels. Phil Spector attended a show at The Starwood and, afterward, requested a meeting with Martha alone. Dean felt a change in the air. That group’s more-or-less-equal creative participation was fading as Martha was becoming the primary focus. It was time to move along.
By this time, Dean had progressed to a point where, musically, he knew what he wanted to say and had a clear idea of the steps needed to say it. Furthermore, he had the confidence in his ability to create something that would attract and excite audiences.
SKIN TO SKIN
A band requires space to develop its sound and work out material. With this in mind, Dean rented a storefront near the corner of Highland and Romaine, in Hollywood, and set about a futile effort to soundproof the rehearsal space. This was necessary because, like any self-respecting “lead guitar” player, Dean’s amplifier was really loud, and some neighbors just might’ve had weapons. A “musicians wanted” ad was prepared for The Recycler. Dean interviewed and auditioned hundreds of bass players and drummers before meeting drummer Randall Marsh, who had previously played in the original Mudcrutch with Tom Petty back in florida. Michael Ostendorf agreed to join on bass, and the band was complete. According to their plan, they had six months to practice before their first gig.Dean had written only one song before starting the band. He hadn’t sung in front of an audience either. But this didn’t deter him. All of the songs that appeared on the first album were written within that year. Demos of songs and arrangements were recorded regularly on a Dokorder four-track. It was a good time. Everything seemed to be coming together. Dean wrote “Modern Times” alone at his family’s vacation house in Inverness, Marin County, under the influence of Southern Comfort. He wrote “Hurt” while housesitting for another former Motels bassist, Lisa Brenneis. “Face To Face” was a touching memory of a high school girlfriend. “The Need” was inspired by William Burroughs’ novel Naked Lunch. The band, by this time called Skin, began to play around town in late ’78. At a show in October, at Club 88 on Pico, the newly retooled Motels had the opening spot. Skin took the stage with the old Stones favorite “She Said Yeah.”They were strong and self-assured, even at this early stage of development. There was something special about the band. Their arrangements, though sparse, had an explosive quality. Dean’s guitar work was restrained, yet loose and reckless in the way he would casually toss out single-line licks and noise shards. It was apparent that this group was not trying to sound like anyone else or be part of any style or movement, and record companies began to take serious notice of the enthusiastic crowds packing the clubs.
“YOU DIDN’T TELL ME YOU WERE GOOD”
An A&R executive from Warner Bros. happened to see Skin at a local club and was surprised to see her own A&R assistant, Dean Chamberlain, fronting this great band. A deal was offered the next day; the contract was signed soon afterwards. Although Columbia Records had also made a serious bid for the band, Dean knew that Warner Bros. cultivated a nurturing, family-type ethos. Skin were in good hands.
The label strongly suggested Skin find professional artist management. Dean had taken care of business up to now and didn’t see the need, but he capitulated. Also, the name Skin seemed a bit harsh and extreme—maybe they could come up with something a bit more radio-friendly. Nigel Grey, fresh from producing the first two Police albums, saw the band play at Blackies and was duly impressed. He signed on as producer and suggested they record the album in London. A sudden disagreement in creative and business direction caused Michael Ostendorf to part ways with the band as they were preparing to record.
Gary Tibbs filled the vacated spot just as the group had hit upon its new name, Code Blue. At the time, Gary was the hottest young bassist around, having come off of a stint with The Vibrators and playing on Roxy Music’s successful Manifesto album and world tour. Code Blue was off to London to record at the legendary Olympic Studios, scene of the Stones and Jean-Luc Godard’s film, Sympathy For The Devil, The Beatles’ “All You Need Is Love” telecast, and early Led Zeppelin albums.
London was bone-chillingly cold, as illustrated by the half-fingered gloves worn by Dean on the album cover. Basic tracks were recorded efficiently enough, although Dean suspected that some of the tempos might be too fast. (Yngwie Malmsteen or some other guitar god was in the studio next door, recording within a circle of candles.)
Grey proposed that overdubs be recorded at his own studio in the south of England. It was there, situated over a working dairy, that the project came to a grinding halt. Details are somewhat sketchy, but in the end, relations with Grey were severed, and the tapes went back to L.A. with the band. In all fairness, Grey did insist that Dean write a third verse for “Whisper/Touch.” A good call.
When the band reconvened recording sessions at Sound City in Van Nuys, they were producing with engineer Mike Stone. Benmont Tench, from The Heartbreakers, came down to a session and contributed organ parts. Dean, Randall, and Mike Stone chose faders and mixed the album in short order.
The LP sounded amazing. It was a new and refreshing take on the young man’s condition, shot through with romance and danger. There were no songs about buildings and food, parties and fast cars. And there was not a weak track in the bunch.
“I’M NOT REALLY A HAPPY GUY BY NATURE.”
The Code Blue record-release party was a wild affair hosted at an old Hollywood-hotel bungalow. Hundreds of people attended, most of whom the band had never met. As the night wore on, it deteriorated into a drunken orgy of wasted hangers-on. The party was symbolic of the band itself: What began as an honest vehicle for musical expression was creeping toward oblivion.
While preparing for the tour to support the record, Code Blue received word that Gary Tibbs would not be joining them. Joe Read, fresh from Bram Tchaikovsky, filled in on bass and rehearsed for their national tour, on which they inexplicably opened for classic-rock legends Thin Lizzy. The six-week tour began on a positive note, with a good reception in Columbus, Ohio. Most shows, however, were not well-received and left the band—who drove around the country in a rented sedan—spiritually drained.
The events surrounding the recording and the less-than-hoped-for reaction to the record and tour caused Dean to reevaluate Code Blue’s direction and basic premise. They would continue searching for the next year or so, until they finally broke up. Their second album, True Stories, was a collection of demos released posthumously.
Code Blue is an overlooked gem that ranks among the best rock albums of the ’80s, captured a sincere and unique slice of raw emotion. One wouldn’t necessarily link it, stylistically, to the decade, although “Whisper/Touch” does play on Andie’s car stereo in a scene from Pretty In Pink, forever sealing it in the ’80s time capsule.
In the rush of the moment, opportunities are created and seized. There may be a brief window for you to take your shot before it closes. If an artist can maintain his values throughout the process without settling for compromise and adulteration, the ultimate reward just might be hanging onto his soul.
—Chris Silagyi
There is another artist with the same name:
II. House-rockin', soulful vocal Blues and R&B. Bobbie Lancaster is an outstanding new vocalist backed by a tight rhythm section with exciting harmonica, keyboard and guitar solo work. Great original songwriting.
Genre: Blues: Blues Vocals Release Date: 2003 On CDbaby here: http://www.cdbaby.com/cd/codebluemusic
Code Blue is a six person blues band based in Bloomington, Indiana. Founded in spring of 2001, Code Blue features of some of the most seasoned blues musicians in southern Indiana.
Code Blue regularly plays in a variety of settings including blues jams, regularly featured sets at blues venues, jazz dinner clubs, and private parties. Our set lists accommodate a range of audience preferences, including avid blues listening, dancing, and background music. We feature diverse vocal styling and a variety of instrumental tunes in blues and jazz genres.
Code Blue maintains an e-mailing list of 500+ fans. We have developed a loyal following which has grown as our band has evolved. The popularity of the band is underscored by our busy schedule in prime locations in the very competitive Bloomington music scene. Our lead vocalist, Bobbie Lancaster was voted by the readership of the Indiana Daily Student as the number one female vocalist in Bloomington for 2003. While Code Blue features original tunes, the band was voted one of Bloomington's top three cover bands in the Indiana Daily Student 2003 poll, and was also voted one of the top three bands in the B-town Music News 2002 poll. Code Blue was also featured in Bloomington's first summer Blues Fest in July of 2003. Code Blue's Monon Train was featured on the 2003 Live from Bloomington CD, a compilation of the area's best original songs from local bands. The Code Blue repertoire concentrates mainly on Blues and Rhythm and Blues, with a sprinkling of jazz.
Code Blue's members are:
- Bobbie Lancaster, vocals
- Dave Baas, guitar and vocals
- John Orie Stith, bass
- Mike Moody, drums and vocals
- Jeff Isaac, piano and organ
- Doc Malone, harmonica
Check out the artist's website:
http://www.myspace.com/codebluegrooves
Track List:
1. Pile of Socks
2. Don't Lie to Me
3. Hound Dog
4. Brewin
5. Keeping the Blues Company
6. One Eyed Man
7. I Can Tell
8. Night Time is the Right Time
9. Another Lover
10. Monon Train
11. Spoonful
12. Monday Morning Blues
13. What I Need to Know
14. Cry Baby
15. Midnight Special
16. Bright Lights, Big City
THE RIGHT PLACE THE RIGHT TIME
Dean grew up in San Mateo, just south of San Francisco, and started playing electric guitar when he was 14. He began attending Bill Graham-produced concerts and caught a variety of artists, such as Howlin’ Wolf, The Charles Lloyd Quartet, and Big Brother And The Holding Company, appearing on the same bill. Rock, blues, jazz, folk, experimental—the wide range of styles combined on Graham’s stage was extraordinary, all the more so for those kids who saw their scope and appreciation of music permanently broadened.
Dean saw Jimi Hendrix play on several occasions around the Bay Area. Once, he became so caught up in the excitement, he climbed up on the stage, only to be launched back into the crowd by Graham himself. As a teenager, Dean spent a year in Brazil while his dad worked as a doctor for the Peace Corps. He expanded his musical pallet by befriending and playing with future Brazilian guitar hero Robertinho de Recife and the young Arto Lindsay, who would continue his international career with DNA and the Ambitious Lovers, as well as producing Brazilian megastars.
After returning to the States, Dean studied at U.C. Santa Cruz for a couple of years before transferring to Berkeley. It was there that he formed the group that would eventually become The Motels with Martha Davis, Richard d’Andrea on bass, Robert Newman on drums, and high school friend Chuck Wada on guitar and songwriting. This group was a funky reaction to the swell of peace and love that Dean witnessed growing up in the Bay Area. But by the early ’70s, the cosmic spell of brotherhood and goodness had already faded, and the local music scene had grown stale. It was time to move along.
“I CAME DOWN TO L.A. TO SEE IGGY POP AT THE WSHISKY A GO-GO AND STAYED”
In the mid-’70s, Southern California was a rather bleak, barren place for the many musicians flocking there in search of career opportunities. The music industry had become fat and decadent as increasing record sales built corporate giants. The popular L.A. sound of the day was light rock with a country flavor. R&B had somehow turned into disco. Jazz musicians traded their sharkskin suits and Italian shoes for dashiki’s and jazz-rock fusion. Spandex-and-hair-spray bands maintained scattered pockets of support in the Valley and Orange County. But the real problem was that too few venues were available to host original music. What was a thoughtful young man to do with his more subversive tendencies and rock ’n’ roll ambitions?
Evenings spent at The Rainbow Bar & Grill, trolling for free drinks, proved a reasonable strategy for Dean to get his bearings. Soon after arriving in the City of Angels, he secured a job at Paramount Recording Studios on Santa Monica Blvd. This medium-sized facility had been around since the late ’60s and recorded such artists as The Doors and Sly And The Family Stone. When he walked in off of the street and asked for a job, Dean figured he had nothing to lose. To his surprise, he soon found himself employed removing linoleum from the studio-bathroom floor.
WELCOME TO THE RECORD BUSINESS
In addition to honing his carpentry skills, on occasion Dean did assist in the engineering of actual recording sessions, and worked with legendary artists and producers, such as Sly Stone, Bob Crewe, and Bobby Womack. He also recorded his own version of “Harlem Shuffle” during allnight sessions that might have led to his subsequent dismissal.
Dean’s next day-job was at Warner Bros. Records, listening to unsolicited tapes sent to the A&R department. This was a handy gig, as it allowed him to pursue his own musical endeavors while getting paid to listen to those of other musicians. Soon after, Martha Davis and the other Motels relocated to L.A. Their intention? Putting the band back together with Dean, securing a record deal, and hitting the big time. Still, there was a nagging problem: There were few places for a ’70s alternative band to perform. The Motels had to stage and promote their own shows—their first one, at Barney’s Beanery, and then one at Radio Free Hollywood at Troopers Hall, where over 200 people showed up. Demos were recorded for record-company consideration. Punk found its way to Los Angeles in early ’77. This extreme reaction to the status quo was a long-awaited fire hose, washing away the deadwood to make way for new live music. The excitement was palpable on the street. Punk clubs sprang up in Chinese restaurants and Polish meeting halls, and established venues soon took notice. New bands, liberated from the stodgy constraints of musical ability, were being formed daily. Musicians who had been knocking around were inspired by the new punk-rock attitude, though not exactly sure of how to embrace it. Dexterous guitar riffage seemed to be out of fashion, and Dean played “lead guitar.” Things were beginning to move for The Motels. Phil Spector attended a show at The Starwood and, afterward, requested a meeting with Martha alone. Dean felt a change in the air. That group’s more-or-less-equal creative participation was fading as Martha was becoming the primary focus. It was time to move along.
By this time, Dean had progressed to a point where, musically, he knew what he wanted to say and had a clear idea of the steps needed to say it. Furthermore, he had the confidence in his ability to create something that would attract and excite audiences.
SKIN TO SKIN
A band requires space to develop its sound and work out material. With this in mind, Dean rented a storefront near the corner of Highland and Romaine, in Hollywood, and set about a futile effort to soundproof the rehearsal space. This was necessary because, like any self-respecting “lead guitar” player, Dean’s amplifier was really loud, and some neighbors just might’ve had weapons. A “musicians wanted” ad was prepared for The Recycler. Dean interviewed and auditioned hundreds of bass players and drummers before meeting drummer Randall Marsh, who had previously played in the original Mudcrutch with Tom Petty back in florida. Michael Ostendorf agreed to join on bass, and the band was complete. According to their plan, they had six months to practice before their first gig.Dean had written only one song before starting the band. He hadn’t sung in front of an audience either. But this didn’t deter him. All of the songs that appeared on the first album were written within that year. Demos of songs and arrangements were recorded regularly on a Dokorder four-track. It was a good time. Everything seemed to be coming together. Dean wrote “Modern Times” alone at his family’s vacation house in Inverness, Marin County, under the influence of Southern Comfort. He wrote “Hurt” while housesitting for another former Motels bassist, Lisa Brenneis. “Face To Face” was a touching memory of a high school girlfriend. “The Need” was inspired by William Burroughs’ novel Naked Lunch. The band, by this time called Skin, began to play around town in late ’78. At a show in October, at Club 88 on Pico, the newly retooled Motels had the opening spot. Skin took the stage with the old Stones favorite “She Said Yeah.”They were strong and self-assured, even at this early stage of development. There was something special about the band. Their arrangements, though sparse, had an explosive quality. Dean’s guitar work was restrained, yet loose and reckless in the way he would casually toss out single-line licks and noise shards. It was apparent that this group was not trying to sound like anyone else or be part of any style or movement, and record companies began to take serious notice of the enthusiastic crowds packing the clubs.
“YOU DIDN’T TELL ME YOU WERE GOOD”
An A&R executive from Warner Bros. happened to see Skin at a local club and was surprised to see her own A&R assistant, Dean Chamberlain, fronting this great band. A deal was offered the next day; the contract was signed soon afterwards. Although Columbia Records had also made a serious bid for the band, Dean knew that Warner Bros. cultivated a nurturing, family-type ethos. Skin were in good hands.
The label strongly suggested Skin find professional artist management. Dean had taken care of business up to now and didn’t see the need, but he capitulated. Also, the name Skin seemed a bit harsh and extreme—maybe they could come up with something a bit more radio-friendly. Nigel Grey, fresh from producing the first two Police albums, saw the band play at Blackies and was duly impressed. He signed on as producer and suggested they record the album in London. A sudden disagreement in creative and business direction caused Michael Ostendorf to part ways with the band as they were preparing to record.
Gary Tibbs filled the vacated spot just as the group had hit upon its new name, Code Blue. At the time, Gary was the hottest young bassist around, having come off of a stint with The Vibrators and playing on Roxy Music’s successful Manifesto album and world tour. Code Blue was off to London to record at the legendary Olympic Studios, scene of the Stones and Jean-Luc Godard’s film, Sympathy For The Devil, The Beatles’ “All You Need Is Love” telecast, and early Led Zeppelin albums.
London was bone-chillingly cold, as illustrated by the half-fingered gloves worn by Dean on the album cover. Basic tracks were recorded efficiently enough, although Dean suspected that some of the tempos might be too fast. (Yngwie Malmsteen or some other guitar god was in the studio next door, recording within a circle of candles.)
Grey proposed that overdubs be recorded at his own studio in the south of England. It was there, situated over a working dairy, that the project came to a grinding halt. Details are somewhat sketchy, but in the end, relations with Grey were severed, and the tapes went back to L.A. with the band. In all fairness, Grey did insist that Dean write a third verse for “Whisper/Touch.” A good call.
When the band reconvened recording sessions at Sound City in Van Nuys, they were producing with engineer Mike Stone. Benmont Tench, from The Heartbreakers, came down to a session and contributed organ parts. Dean, Randall, and Mike Stone chose faders and mixed the album in short order.
The LP sounded amazing. It was a new and refreshing take on the young man’s condition, shot through with romance and danger. There were no songs about buildings and food, parties and fast cars. And there was not a weak track in the bunch.
“I’M NOT REALLY A HAPPY GUY BY NATURE.”
The Code Blue record-release party was a wild affair hosted at an old Hollywood-hotel bungalow. Hundreds of people attended, most of whom the band had never met. As the night wore on, it deteriorated into a drunken orgy of wasted hangers-on. The party was symbolic of the band itself: What began as an honest vehicle for musical expression was creeping toward oblivion.
While preparing for the tour to support the record, Code Blue received word that Gary Tibbs would not be joining them. Joe Read, fresh from Bram Tchaikovsky, filled in on bass and rehearsed for their national tour, on which they inexplicably opened for classic-rock legends Thin Lizzy. The six-week tour began on a positive note, with a good reception in Columbus, Ohio. Most shows, however, were not well-received and left the band—who drove around the country in a rented sedan—spiritually drained.
The events surrounding the recording and the less-than-hoped-for reaction to the record and tour caused Dean to reevaluate Code Blue’s direction and basic premise. They would continue searching for the next year or so, until they finally broke up. Their second album, True Stories, was a collection of demos released posthumously.
Code Blue is an overlooked gem that ranks among the best rock albums of the ’80s, captured a sincere and unique slice of raw emotion. One wouldn’t necessarily link it, stylistically, to the decade, although “Whisper/Touch” does play on Andie’s car stereo in a scene from Pretty In Pink, forever sealing it in the ’80s time capsule.
In the rush of the moment, opportunities are created and seized. There may be a brief window for you to take your shot before it closes. If an artist can maintain his values throughout the process without settling for compromise and adulteration, the ultimate reward just might be hanging onto his soul.
—Chris Silagyi
There is another artist with the same name:
II. House-rockin', soulful vocal Blues and R&B. Bobbie Lancaster is an outstanding new vocalist backed by a tight rhythm section with exciting harmonica, keyboard and guitar solo work. Great original songwriting.
Genre: Blues: Blues Vocals Release Date: 2003 On CDbaby here: http://www.cdbaby.com/cd/codebluemusic
Code Blue is a six person blues band based in Bloomington, Indiana. Founded in spring of 2001, Code Blue features of some of the most seasoned blues musicians in southern Indiana.
Code Blue regularly plays in a variety of settings including blues jams, regularly featured sets at blues venues, jazz dinner clubs, and private parties. Our set lists accommodate a range of audience preferences, including avid blues listening, dancing, and background music. We feature diverse vocal styling and a variety of instrumental tunes in blues and jazz genres.
Code Blue maintains an e-mailing list of 500+ fans. We have developed a loyal following which has grown as our band has evolved. The popularity of the band is underscored by our busy schedule in prime locations in the very competitive Bloomington music scene. Our lead vocalist, Bobbie Lancaster was voted by the readership of the Indiana Daily Student as the number one female vocalist in Bloomington for 2003. While Code Blue features original tunes, the band was voted one of Bloomington's top three cover bands in the Indiana Daily Student 2003 poll, and was also voted one of the top three bands in the B-town Music News 2002 poll. Code Blue was also featured in Bloomington's first summer Blues Fest in July of 2003. Code Blue's Monon Train was featured on the 2003 Live from Bloomington CD, a compilation of the area's best original songs from local bands. The Code Blue repertoire concentrates mainly on Blues and Rhythm and Blues, with a sprinkling of jazz.
Code Blue's members are:
- Bobbie Lancaster, vocals
- Dave Baas, guitar and vocals
- John Orie Stith, bass
- Mike Moody, drums and vocals
- Jeff Isaac, piano and organ
- Doc Malone, harmonica
Check out the artist's website:
http://www.myspace.com/codebluegrooves
Track List:
1. Pile of Socks
2. Don't Lie to Me
3. Hound Dog
4. Brewin
5. Keeping the Blues Company
6. One Eyed Man
7. I Can Tell
8. Night Time is the Right Time
9. Another Lover
10. Monon Train
11. Spoonful
12. Monday Morning Blues
13. What I Need to Know
14. Cry Baby
15. Midnight Special
16. Bright Lights, Big City
Burning Bridges
Code Blue Lyrics
We have lyrics for 'Burning Bridges' by these artists:
.38 Special You haven't changed much From the last time I saw you You…
12. OneRepublic You and I were meant to be Ain't no doubt about…
2/3 Goat Uh Uh huh, huh, huh, huh, huh, huh Momma know how I…
22 Wolf I told that bitch to suck a dick I fucking quit Middle…
2\x013 Goat Uh Uh huh, huh, huh, huh, huh, huh Momma know how I…
Adamantium The bridges have been burnt, And I won't pretend, I never…
Against Me! I saw you burn down every bridge. Turn your back…
André Andersen I told you once, I told you twice That you can't…
Andre Andersen I told you once, I told you twice That you can't…
Anvil When you bite the hand that feeds Destructive forces out to…
Arch Enemy So now the bridges are burnt A lesson learned? Promises brok…
Atrox If you can't cope with the answers don't bother to…
Ayosha If my life would stop in a minute, I would do…
Bea Miller I've been lonely missing your body You've been out of touch…
Beatcore & Ashley Apollodor Burning bridges to the ground Take away what's left of …
Ben Taylor If this is an emergency we shot down in the dark we…
Bigelf I play the game Around and around it’s the same You are…
Black Abyss Every night I close my eyes Memories got me in my…
Bloodties I've built too many bridges just to watch them burn…
Bloody Heels 9) Burning Bridges I feel you around me Even when you're no…
Blue Stahli So love is a border town abortion Elimnate everything I tho…
Bon Jovi Sayonara Adios, auf wiedersehen, farewell Adieu, good night,…
Bree Taylor Sometimes talk is cheap And words don’t mean that much And s…
Brooks Garth Yesterday she thanked me For oiling that front door This mor…
Carleen Anderson How did I ever get over, mountains so high Light…
Chapman Some friends I chose And some friends I lost Some became m…
Cheap Suits What gives you the write to walk all over me Do…
Chokehold I reach out my hands try to educate you on…
Chris Pureka This is a story of burning bridges And allowing time to…
Chromatics When your tears fall down On the cold, cold ground And you'v…
Cinema Sounds Orchestra Friends all tried to warn me But I hels my head…
Collective Soul Been thinking a lot about my ways Guess I'm trying…
Confetti I'm getting really good at burning bridges, yeah I'…
Connie Smith Found some letters you wrote me this morning And they told…
Crematory Seek evil, you will find, speak evil, it's on your…
Crimson Glory We've all been hurt before You know the pain And just to…
Crippled Black Phoenix Friends all tried to warn me but I held my…
Crystallion I know what I believe in I hope you know it…
Daniel O'Donnell Friends all tried to warn me But I held my head…
Daniel O’Donnell Friends all tried to warn me But I held my head…
Delain Do you remember? You and me against the world Do you remembe…
Django Stewart Your messages on my phone ‘Bout to lose control Stayed up al…
Donny Osmond Friends all tried to warn me but I held my…
dreamsfear [8:04] After all this time together After all that we'v…
Dune Rats Round and round, right way round Up and down, here we…
Ella Vos Gave all that I had, more than you should ask Wide…
Emerson Lake & Palmer Miles away The light in the distance looks miles away Tire…
Emerson, Lake & Palmer (Mark Mancina) Miles away The light in the distance looks m…
Empire Of Gold How many times have I ruined my name Put my whole…
ENMY When I decide, to leave you all behind I can't be…
Eternal Delyria You're all that matters in this world It's not wha…
Eye-Gouge! Just the other day I heard somebody say ?Life is getting…
Family J. Whitney / R. Chapman / P. Palmer Visions they'r…
Faron (Burning bridges behind me) all I want is to forget…
Flight Project I was meant to live another life I can't find it,…
Freak Kitchen The sun is kind of annoying As I try to sleep…
Fulblown You and I were meant to be Ain't no doubt about…
Garth Brooks Yesterday she thanked me For oiling that front door This mor…
George Jones Found some letters that you wrote me this mornin' And they…
Ghost Machine It's been a long dark road but I remember when…
Gizmo Varillas How many times must we trip and fall How many more…
Glen Campbell Found some letters You wrote me this morning They told of…
Her Nightmare I'm not here to save your world, to save your…
Information Society Do you think There are things I'd rather not remember Can …
Jack Scott Found some letters you wrote me this morning They told of…
Jan Howard Found some letters you wrote me this morning they told…
Japan It's all behind me now The work is done We…
Jason Mraz I know exactly how you feel You were this close to…
JUL!ET Wanna slam the door No, none of this is news Not spreading…
k-os (Now dance fast! this is what we do overall in…
Kange A clean slate I thought I needed Don't talk to me no…
Kittie Hell above Your star is below There's no comprehension Ther…
KOS (Now dance fast this is what we do overall in…
Krabathor Hidden in the forest, Sleeping on the ground Far away from…
Lalo Schifrin Friends all tried to warn me But I held my head…
LIL POOH Lately I've been burning bridges, don't want no dealings Can…
Lucinda Williams Sometimes press them tenders I'm never truly land And all yo…
Ludacris When all your love is lost And burning bridges can't be…
Lukas Rossi Always thought it was so clear, as the rearview mirror…
Matt McAndrew In New Jersey I burn bridges And I'm drowning in the…
MDU a.k.a TRP & Kabza De Small (Now dance fast this is what we do overall in…
Me & The Rest I wanted you to see the good in me You think…
Megadeth You give up on yourself Somehow you got betrayed again Thin …
Mest It was a late Thursday night, when I decided to…
Michael Barr I'm burning bridges Quicker than I'm burning up this liquor…
Mike Curb Friends all tried to warn me But I held my head…
Moderator I can't I mean I gotta follow through with this I'm gonna…
Moonlight Social I hung up the phone, took a deep breath cnd tried…
Mystic Prophecy Decades of decadence and aeons of evil Comes over you this…
Nachtmahr The blood we spilled The enemies that we killed The wars we…
Naked Eye Just the other day I heard somebody say ?Life is getting…
Neil Fergus Well, my friends said she's an outsider she never quite…
Obey the Brave Get back on track No turning back I knew it all along D…
OneRepublic You and I were meant to be Ain't no doubt about…
OR Just the other day I heard somebody say ?Life is getting…
PabZ I'm burning bridges No more forgiveness Made my decisions An…
Paragon I'm like you - You are like me Together in the…
Passenger Turn into dust, turn into dust... (...) and my tongue whe…
Peter Maffay All alone in a big bad world Don't make no sense…
Pink Floyd Bridges burning gladly Merging with the shadows Flickering …
Pink Floyd (The Early Years 1965-1972) Bridges burning gladly Merging with the shadows Flickerin…
Pink Floyd (vinyl) Bridges burning gladly Merging with the shadows, Flicker…
Pissing Razors The dreams are so real and the lies are so…
Porter Wagoner Found some letters you wrote me this morning They told…
Prayers Fire, I breath fire Fire, I breath fire Fire, I breath fire …
Protoculture Time Is never on my side I have to fight tomorrow I feel…
Protoculture feat. Tricia Mc Teague Time is never on my side, I have to fight tomorrow, I…
Protoculture Feat. Tricia McTeague Time Is never on my side I have to fight tomorrow I feel…
Pureka Chris This is a story of burning bridges And allowing time to…
Razor Downtown Toronto a Saturday night I'm looking to party 'til …
Remy Shand Another time, another space Mark my words, I can't fake anot…
Roger Miller Found some letters You wrote me this mornin' They told of…
Ronnie McDowell Found some letters you wrote me this morning They told of…
Roy Drusky Found some letters you wrote me this morning they told…
Scott Jack Found some letters you wrote me this morning They told of…
Seventh Day Slumber Set this place on fire, burn it to the ground 'Cause…
Shand Remy Another time, another space Mark my words, I can't fake anot…
Sigrid I could tell you the truth but you'd call me…
Silent Screams What difference does a day make, for you and me? What…
Siren one more rainy day serenade and i tend to fall apart when…
SKIP&DIE And when the magic runs away I hear somebody ask "when…
Slushie Closing in on the fall, It takes all you've got…
Status Quo Building dreams has always been my way Making time and livin…
Status Quo (Karaoke) Building dreams has always been my way Making time and livi…
Stephen Wrench I get up every morning with a smile on my…
Stormy Strong Though you tried so hard to find A wrinkle in my…
Sunk Loto Burning down to the ground Burning life slips away from me …
Superstitions of the Sky I remember the last time our lips met in between…
Survivor I can feel a strong desire A distant fire burning…
Tell Me a Fairytale This town, this lighthouse is standing On the abandoned swam…
The Heat Whoa! Got me feeling down Push me underground Whoa! Got to…
The Lionheads All the words spoken, you know (woooo) All out in the…
The Mike Curb Congregation Friends all tried to warn me But I held my head…
The New Low I don't think I can listen to another lie you're…
The Relapse Symphony Stop talking It's my turn, These words are gonna burn The tr…
The Statler Brothers Found some letters you wrote me this morning they told…
The Summer Obsession Mission accomplished Do you feel regret breathing down your…
The Troubled I will be gone cause there's nothing left for me I'm…
The TVC I've been wandering This desert Searching for a grain Of wh…
The Wilburn Brothers Found some letters you wrote me this morning and they…
Through the Flood Betrayal writhes on the tip of her wretched tongue Under tra…
Tony Carey All alone in a big bad world don't make no sense…
V.A. The moment I was walking (Yea) Thought I got lucky (Uh) Bitc…
Victims Kill your environment And then disable the breaks Then bur…
voidboy Left right up Smoke my cookies up Momma said she love me I'v…
Willis Earl Beal Your flaming face is the fire of fools My lonely cart…
World On Edge Last night I hurt you I said some things for which…
Status Quo Building dreams has always been my way Making time and livin…
We have lyrics for these tracks by Code Blue:
Face to Face He’s making love while talking on the phone To a woman…
Paint By Numbers She says I think too much She got me down on…
The lyrics are frequently found in the comments by searching or by filtering for lyric videos
More Genres
No Artists Found
More Artists
Load All
No Albums Found
More Albums
Load All
No Tracks Found
Genre not found
Artist not found
Album not found
Search results not found
Song not found